| 出生地： | 莫斯科 | ||
| 去世地： | 高加索 | ||
閱讀萊蒙托夫 Mikhail Yuryevich Lermontov在诗海的作品!!! | |||
莱蒙托夫圖片
1837年2月，普希金在决鬥中重傷後去世。萊蒙托夫憤然作《詩人之死》一詩，直言殺害普希金的罪魁禍首是俄國上流社會。他因此被流放到高加索。1838年4月回到聖彼得堡原部隊。在此期間，除寫了《述懷》、《詩人》、《匕首》等一係列抒情詩外，還發表《波羅金諾》和《沙皇伊凡·瓦西裏耶維奇、年輕的近衛士和勇敢的商人卡拉希尼科夫之歌》兩首長詩。
1839～1841年完成長篇小說《當代英雄》，由5個相對獨立的中短篇組成。作品通過原來精力充沛、才智過人的貴族青年畢巧林在當時社會條件下無法施展才能，結果成了衹好在一些無聊小事上消耗自己生命的“多餘人”的經歷，強烈表現對黑暗現實的否定態度。小說的大部分篇幅用主人公日記的形式，重在自我心理剖析，兼有現實主義的客觀具體描寫和浪漫主義直抒主觀情思的特色。
萊蒙托夫親筆繪畫，內容是對高加索的回憶
1840年新年，萊蒙托夫參加一個貴族的假面舞會，寫了《一月一日》一詩，引起上流社會不滿。同年2月，沙皇當局挑起他與法國公使之子巴蘭特决鬥，事後藉機將他逮捕。當年4月，他再度被流放到高加索；途經莫斯科時在果戈理的命名日宴會上朗讀自己的新作長詩《童僧》，表現一個想逃脫監獄般的修道院回傢的少年僧徒的痛苦和急切心情。
1840年6月，萊蒙托夫到達流放地，7月參加對山民的戰鬥。翌年2月獲準回聖彼得堡休假。不久完成長詩《惡魔》，描寫天國的反叛者惡魔到了人間，仍感孤獨，而且給人帶來不幸，詩人以此表現對惡魔叛逆天國的贊賞，揭示其利己主義的悲劇結局。它和《童僧》均屬俄羅斯浪漫主義詩歌的傑作。同年4月《祖國紀事》發表的《祖國》一詩，否定俄國的軍事榮耀，謳歌俄羅斯的壯麗山川和淳樸農村生活，是他最重要的力作之一。1841年夏，萊蒙托夫休假後回部隊途中在决鬥時被殺害。
萊蒙托夫其多數優秀詩歌和小說作品，都有較好的中文譯本。
詩人的童年是在奔薩州的阿爾謝尼耶娃的塔爾罕內莊園中度過的。他接受首都式家庭教育，從小就能流利的說法語和德語。1825年夏，外租母帶萊蒙托夫到高加索的礦泉療養；兒時對高加索的自然風光和山民生活的記憶在他的早期作品裏留下了印記(《高加索》1830年；《藍色的高加索山，你好…》1832年）1827年萊蒙托夫全家搬到莫斯科，1828年他作為半寄宿生進入莫斯科大學附屬貴族寄宿學校四年級，在那裏接受人文教育。還在塔爾罕內時，萊蒙托夫就對文學和詩歌創作表現了強烈的興趣。在寄宿學校，他的主要方向是研究A·C·普希金和拜論風格長詩。拜倫式長詩成為萊蒙托夫早期的主要作品。1828—1829年，他寫下了《海盜》、《罪犯》、《奧列格》、《兩兄弟》 (死後發表)、《最後的自由之子》、《伊茲麥爾一白》和《惡魔》等詩篇。
這些長詩的主人公都是與社會抗爭、踐踏社會和道德規範的英雄、被拋棄者和暴亂分子；“罪惡”懸在他們頭上，這種罪惡通常被秘密籠罩，並以苦難的表象出現。
1830年3月，根據樞密院令，莫斯科寄宿學校改為普通中學。1830年，萊蒙托夫“請求”退學，在莫斯科郊外斯托雷平傢族的謝列德尼 科沃莊園避暑消夏，同年考取莫斯科大學思想政治係。萊蒙托夫的初戀發生在這段時期，他深深迷戀上 E·A·蘇什科娃(1812—1868年)。他是在友人A·M·韋列夏金娜的傢中結識蘇什科娃的。因為她，詩人於1830年開始了自己的抒情詩創作期(《緻蘇什科娃》、《乞丐》、《十四行詩》、《夜》)。
不久以後，萊蒙托夫又瘋狂地愛上了劇作傢Ф·Ф·伊萬諾夫的 女兒H·Ф ·伊萬諾娃(1813—1875年)，儘管這衹是一段短暫的戀情。
詩人的個性形成於這幾年(1830一1832年)，不斷地移情別戀很大程度上衹是在嘗試瞭解自己。這時，詩歌出現了“片斷思維” 體，詩的中心部分是不停地進行自我剖析和自我認知。他在1830—1831年創作的詩歌開始表現社會主題。萊蒙托夫鮮有直接意義上的政治抒情詩；社會政治課題通常融入到他的哲學和精神思考體係中。這在萊蒙托夫19世紀30年代初創作的詩歌中體現得尤為明顯。莫斯科大學哲學和政治氛圍濃厚，學校成立了興趣小組和學生社團(И·B·斯坦剋維奇、A·И·赫爾岑和B· Г·別林斯基都組建過社團)。沒有資料顯示萊蒙托夫與這些團體有何關聯，但他有可能贊同它們在政治上特有的反對派精神，甚至參加過學生活動(將M· Я·馬洛夫教授趕出教室)。這些思想早在《土耳其人的哀怨》(1829年)和獻給1830—1831年歐洲革命(《1830年7月30日》巴黎、《1830年7月10日》)、法國大革命(《來自安德烈·申尼耶》，1830一1831年)及普加喬夫起義(《預言》，1830年)的組詩中就有體現。萊蒙托夫這個時期開始構思展現1774—1775年農民起義全景的小說《瓦季姆》，這是他第一次嘗試寫小說。
他這一階段詩歌的抒情對象是巴赫梅捷夫的妻子、萊蒙托夫大學同窗的妹妹 B·A·洛普希娜(1815一1851年)。他對她的感情最為熱烈，也最持久。洛普希娜既是他早期詩歌(《K.萊蒙托夫1831年、《她不是驕傲的美人……》1832年等)，又是晚期作品(《瓦列裏剋》，《惡魔》第六次印本的題詞)的抒情對象或主人公原型；她的形象走進了詩歌《不，我沒有如此強烈地愛着你》和《利托夫斯卡婭公爵夫人》(維拉)。1830—1831 年，詩人早期的抒情詩創作達到顛峰，之後開始走下坡路。
1832年後，萊蒙托夫開始涉足敘事詩（《心願》1832年、《美人魚》 1832年)和散文體小說領域。
萊蒙托夫此時詩歌關註的主題有兩個：一個是中世紀的俄羅斯歷史(《最後的自由之子》1831年、 《立陶宛女人》1832年)，另一個是 異域的高加索題材(《伊茲麥爾一白》1832年、《巴斯通志村》1833 —1834年、《哈吉—阿勃列剋》1833年)。
1832年，萊蒙托夫離開莫斯科大學前往聖彼得堡，希望在聖彼得堡大學繼續求學；但他在莫斯科所聽課程被拒絶評定合格。為了不重新開始學業，萊蒙托夫聽從親戚們的建議選擇從軍；1832年11月他通過近衛士官生入學考試，在軍校度過了兩年時光，隊列勤務、值勤和閱兵幾乎占去了他所有的創作時間 (軍校生活粗糙自然地反映在他的士官生詩中—《彼得戈夫的節日》等)。1835年，在萊蒙托夫畢業成為禁軍驃騎兵團的一名騎兵少尉 (1834年9月)後，他的創作又趨活躍。這一年面世的長詩《哈吉—阿勃列剋》是萊蒙托夫第一次在印刷刊物上發表作品(據傳，手稿是在未經作者同意的情況下投給雜志社的)。萊蒙托夫將劇本《假面舞會》的初稿交給書刊審查機關，同時還在創作詩歌《薩申卡》和《大貴族奧爾沙》，並開始寫作小說《利托夫斯卡婭公爵夫人》。萊蒙托夫同A· H·穆拉維約夫、И·И·科茲洛夫以及與正在組建的斯拉夫主義小組關係密切的人的交情衆所周知。在小說《利托夫斯卡婭公爵夫人》（寫於1836年，未完成，1882年發表)中，萊蒙托大首次對社會生活進行描寫，並提前預料到19世紀40年代出現的“生理學”。他同時還在創作《假面舞會》(1835— 1836年)，這是第一部他認為值得發表的作品，他三次將劇本交付審查，兩次修改，但劇本最終還是被禁。
1836一1837年，萊蒙托夫創作了第一首成熟的獨具特色的長詩《大貴族奧爾沙》(1835—1836年)。奧爾沙是他第一次嘗試塑造的歷史人物—一名伊凡雷帝時期按照貴族榮譽法則生活的農奴主。這個主題在《沙皇伊凡·瓦西裏耶維奇、年輕的禁軍士兵和勇敢的商人卡拉什尼科夫之歌》(1838年)中得到延續。萊蒙托夫與之相類似的抒情詩還有《波羅金諾》，這首寫於波羅金諾戰役25 周年（1837年)的詩篇是關於1812年人民戰爭的“微型敘事詩”。
1835—1836年，萊蒙托夫還沒有進入到與普希金關係最親密的圈子裏．與普希金也並不認識。然而，他在獲悉普希金去世的消息後立刻寫就的《詩人之死》卻引發了轟動。1837年2月l8日萊蒙托夫被捕，“禁詩”政治案件的調查開始了。萊蒙托夫在被捕期間創作了《鄰居》、《囚徒》，《女鄰》(1840年)、《被囚的騎亡》(1840年)等詩篇。其中，《囚徒》是他輝煌的“獄中詩” 創作周期的開始。
1837年2月，萊蒙托夫接到調任下諾夫哥羅德高加索騎兵團準尉的最高指令；他於3月出發，途經莫斯科。由於中途患上感冒，萊蒙托夫留在斯塔夫羅波爾、皮亞季戈爾斯剋和基斯洛沃茨剋治療；在追隨騎兵團的路上“遊遍了沿綫各個地方，從基茲利亞爾到塔曼，他翻山越嶺，足跡遍布舒沙、庫巴、捨馬哈、卡赫季，他身着切爾剋斯人服裝，肩背步槍，在曠野中過夜，伴着鬍狼的嗥叫聲入眠……”， 11月份到達季夫裏斯。1837年，萊蒙托夫開始記錄有關阿希剋·剋裏布的民間神話 (《阿希剋—剋裏布》)，他努力再現東方語言的色彩和“土耳其”說書人的心理活動；詩人在《捷列剋的恩賜》、《哥薩剋搖籃麯》和《逃亡者》中揭示了高加索民族的性格。在皮亞季戈爾斯剋，萊蒙托夫遇見了莫斯科寄宿學校的舊交H·M·薩京以及別林斯基和H·B·邁爾醫生(《梅麗公爵小姐》中韋爾納醫生的原型)；結識了被流放的十二月黨人(C·И·剋裏夫佐夫、B·M· 戈利岑、B·H·利哈廖夫和M·A· 納濟莫夫)，與A·И·奧多耶夫斯基過從甚密(1840年寫下《追憶A· И·奧多耶夫斯基》)。
在流放期間和以後的日子裏，從小癡迷繪畫的萊蒙托夫的藝術天分充分展露出來。他的畫主要是水彩畫、油畫和素描，種類有風景畫、 風俗畫、肖像畫和諷刺畫，其中又以高加索題材的畫為最佳。
經過外祖母的多方奔走和嚮A·X·本肯多夫疏通，萊蒙托夫的流放時間縮短了。 1837年10月萊蒙托夫接到調往格羅德諾驃騎兵團(諾夫哥羅德州)、然後調回位於皇村的禁軍驃騎兵團的命令。1838年1月下旬，萊蒙托夫回到聖彼得堡。1838—1841年是他在文壇名聲大噪的幾年。他很快進入普希金文學圈，認識了B·A·茹科夫斯基、 П·A·維亞澤母斯基、 П·A·普列特尼奧夫和B·A·索洛古布，卡拉姆津家庭接納。最後一次流放前，萊蒙托夫在卡拉姆津傢中閱讀了《烏雲》。1840年，其生前唯一一部詩集和《當代英雄》在聖彼得堡出版發行。
不算上劇本和未完成的散文體小說，到1840年，萊蒙托夫留給世人的作品包括約400首詩歌和30首長詩。其中絶大多數是在詩人死後發表的。
1838—1840年，詩人加入“16人小組”—一個由小圈子行為規則和成員的政治對立情緒聯合起來的軍界年輕貴族團體。
這一階段，在他的詩歌和散文體小說中似乎運用了普希金的一些方法。但萊蒙托夫散文體小說的基本架構(詩歌亦是如此)在許多方面 與普希金是對立的；普希金散文體小說的簡約和詩歌“和諧準確”的風格不是他的特點。萊蒙托夫並沒有與普希金的圈子結成密切的關係： 無論茹科夫斯基、維亞澤姆斯基，還是普列捷尼奧夫，遠非所有人都接受他的創作。“有選擇”地接受他的還有正在形成的莫斯科斯拉夫主義小組。萊蒙托夫也在仔細觀察未來斯拉夫主義者(A·C·霍米亞科夫、 Ю·Ф·薩馬林)的活動，與他們保持着私人關係，還在《莫斯科維亞人》(1841年)上發表敘事詩《爭吵》，但對待他們理論中的社會哲學基礎卻態度冷漠(《祖國》1841年)。
與萊蒙托夫關係最牢固的是《祖國紀事》雜志社。正是這傢雜志刊登了他生前和死後發表的大部分詩篇，以及《貝拉》、《宿命論者》和《塔曼》。
1840年2月，在公爵夫人拉瓦爾的舞會上，萊蒙托夫與法國公使的兒子Э·巴蘭特發生衝突；直接原因是上流社會的競爭—兩人都對M·A·謝爾巴托娃公爵夫人感興趣，而公爵夫人更喜歡萊蒙托夫。爭執超出了私人範疇，上升到捍衛國傢尊嚴的層面。2月18日舉行的决鬥以雙方和解結束。但萊蒙托夫還是被交給了軍事法庭，朋友和文學界的相識紛紛前來探獄。在此期間，對萊蒙托夫與巴蘭特之間的衝突進行了新的解釋，這惡化了事態的發展。1840年4月，上面發佈將詩人調往高加索現役軍隊田加騎兵團的調令。他6月份纔踏人斯塔夫羅波爾高加索軍隊司令 П· X·格拉別的房間，7月份就參加了與高加索山民的小型戰鬥和血腥的瓦列裏剋戰役。
1841年2月初，萊蒙諾夫得到兩個月的休假，返回彼得堡。他因作戰勇猛而被推薦受奬，但尼古拉一世拒絶了推薦。詩人在首都度過的3個月中備受關懷；他有很多創作計劃，打算退役並重新投身到文學活動中。在高加索接觸到的東方精神生活令他感興趣；在自己的一些作品中，他觸及到了“東方世界觀”的問題(《塔馬拉》、《爭吵》)。
1841年4月14日，沒有得到延期許可的萊蒙托夫回到高加索。5月，他來到皮亞季戈爾斯剋，獲準在礦泉停留療養。在這裏，他寫下一係列詩篇：《夢》、《懸崖》、《他們相愛…》、《塔馬拉》、《約會》、《葉》、《我獨自上路…》、《海的公主》和 《預言傢》。
在皮亞季戈爾斯剋，萊蒙托夫找到了過去的老友，其中還有士官生學校的同學馬丁諾夫。一次，在韋爾濟林的家庭晚會上，萊蒙托夫 的玩笑激怒了馬丁諾夫。爭吵過後馬丁諾夫發出决鬥的挑戰；萊蒙托夫對這個小爭執並未在意，接受了挑戰，他沒打算嚮同學開槍，結果 自己被一槍打死。萊蒙托夫被安葬在塔爾罕內的傢族墓穴中。
Lermontov was born in Moscow to a respectable noble family of the Tula Governorate, and grew up in the village of Tarkhany (in the Penza Governorate), which now preserves his remains. According to one disputed and uncorroborated theory his paternal family was believed to have descended from the Scottish Learmonths, one of whom settled in Russia in the early 17th century, during the reign of Mikhail Fedorovich Romanov. However this claim had neither been proved nor disproved just the same, and remains a legend.
Lermontov's father, Yuri Lermontov, like his father before him, was a military man. Having moved up the ranks to captain, he married the sixteen year old Mariya Arsenyeva, to the great dismay of her mother, Yelizaveta Alekseyevna. A year after the marriage, on the night of October 3 (Old Style), 1814, Mariya Arsenieva gave birth to Mikhail Lermontov. According to the tradition, soon after his birth, some discord between Lermontov's father and grandmother erupted, and unable to bear it, Mariya Arsenieva fell ill and died in 1817. After the daughter's death, Yelizaveta Alekseyevna devoted all her love to her grandson, always in fear that his father might move away with him. Either because of this pampering or continuing family tension or both, Lermontov as a child developed a fearful and arrogant temper, which he took out on the servants, and smashing the bushes in his grandmother's garden.
As a small boy Lermontov listened to stories about the outlaws of the Volga region, about their great bravery and wild country life. When he was ten, Mikhail fell sick, and Yelizaveta Alekseyevna took him to the Caucasus region for a better climate. There, young Lermontov for the first time fell in love.
School years
The intellectual atmosphere in which he grew up differed little from that experienced by Pushkin, though the domination of French had begun to give way to a preference for English, and Lamartine shared his popularity with Byron. In his early childhood Lermontov was educated by a Frenchman named Gendrot. Yelizaveta Alekseyevna felt that this was not sufficient and decided to take Lermontov to Moscow, to prepare for gymnasium. In Moscow, Lermontov was introduced to Goethe and Schiller by a German pedagogue, Levy, and shortly afterwards, in 1828, he entered the gymnasium. He showed himself to be exceptional student. Also at the gymnasium he became acquainted with the poetry of Pushkin and Zhukovsky, and one of his friends, Katerina Hvostovaya, later described him as "married to a hefty volume of Byron". This friend had at one time been an object of Lermontov's affection, and to her he dedicated some of his earliest poems, "Нищий (У врат обители святой)" (The Beggar). At that time, along with his poetic passion, Lermontov also developed an inclination for poisonous wit, and cruel and sardonic humor. His ability to draw caricatures was matched by his ability to pin someone down with a well aimed epigram or nickname.
At the university
After the academic gymnasium, in the August 1830, Lermontov entered the Moscow University. That same summer the final, tragic act of the family discord played out. Having been struck deep by his son's alienation, Yuri Lermontov left the Arseniev house for good, only to die a short time later. His father's death on such a note was a terrible loss for Mikhail, and is reflected in his poems: "Forgive me, Will we Meet Again?" and "The Terrible Fate of Father and Son".
Lermontov's career at the university was short-lived. He attended lectures faithfully, but he would often read a book in the corner of the auditorium, and rarely took part in a student life. What brought his time at the University to an end was a prank a group of students pulled against one of the professors named Malov. Several biographers see this incident as the reason for Mikhail's departure.
Lermontov Museum in the village of Taman.
Young cadet - first poems
The events at the University led Lermontov to seriously reconsider his career choice. From 1830 to 1834 he attended the cadets school in Saint Petersburg, and in due course he became an officer in the guards. There Lermontov got a chance to show his incredible strength: he and another junior officer would tie steel ramrods, as if they were simple ropes, into knots, until they were caught at this task. When they were caught doing it,by General Schlippenbach he yelled them "What are you kids doing, pulling pranks like these?" and since then Lermontov would laugh:"Such kids! to tie steel ramrods into knots!"
At that time he began writing poetry. He also took a keen interest in Russian history and medieval epics, which would be reflected in the Song of the Merchant Kalashnikov, his long poem Borodino, poems addressed to the city of Moscow, and a series of popular ballads.
Fame and exile
To express his own and the nation's anger at the loss of Pushkin (1837) the young soldier wrote a passionate poem the latter part of which was explicitly addressed to the inner circles at the court, though not to the tsar himself. The poem all but accused the powerful "pillars" of Russian high society of complicity in Pushkin's murder. (Note: Pushkin was not murdered. He was killed in a duel, in which he was the challenger.) Without mincing words, it portrayed that society as a cabal of self-interested venomous wretches "huddling about the throne in a greedy throng", "the hangmen who kill liberty, genius, and glory" about to suffer the apocalyptic judgement of God. Cleaving the repressive atmosphere of 1830's Russia like a lightning bolt from a still sky, the poem had the power of biblical prophecy.
Lermontov took delight in painting mountain landscapesThe tsar, however, seems to have found more impertinence than inspiration in the address, for Lermontov was forthwith sent off to the Caucasus as an officer in the dragoons. He had been in the Caucasus with his grandmother as a boy of ten, and he found himself at home, with feelings deeper than those of childhood recollection. The stern and rocky virtues of the mountain tribesmen against whom he had to fight, no less than the scenery of the rocks and of the mountains themselves, were close to his heart; the tsar had exiled him to his native land.
Lermontov visited Saint Petersburg in 1838 and 1839, and his indignant observations of the aristocratic milieu, wherein fashionable ladies welcomed him as a celebrity, occasioned his play Masquerade. His not reciprocated attachment to Varvara Lopukhina was recorded in the novel Princess Ligovskaya, which he never finished. His duel with a son of the French ambassador led to Lermontov being returned to the army fighting the war in the Caucasus, where he distinguished himself in hand-to-hand combat near the Valerik River.
A landscape painted by Lermontov. Tiflis, 1837By 1839 he completed his most important novel, A Hero of Our Time, which prophetically describes the duel like the one in which he would eventually lose his life.
Tragic death and the aftermath
On July 25, 1841, at Pyatigorsk, fellow army officer Nikolai Martynov, who felt hurt by one of Lermontov's jokes, challenged Lermontov to a duel. The duel took place two days later at the foot of Mashuk mountain. Lermontov chose the edge of a precipice for the duel, so that if either combatant was wounded, he would fall down the cliff. Lermontov was killed by Martynov's first shot. Several of his verses were posthumously discovered in his notebook.
Lermontov's life must be viewed as one of the most epic and dramatic in the history of literature. After attacking the tsar as complicit in the de facto assassination of Pushkin, Lermontov himself fell in a duel that many believe was also the work of a tsarist conspiracy designed to silence nascent rebellion. His major works, which can be readily quoted from memory by many Russians, suffer from the generally poor quality of translation from Russian to English - Lermontov therefore, remains largely unknown to English-speaking readers. His poem "Mtsyri" ("The Novice") tells the story of a young man who finds that dangerous freedom is vastly preferable to protected servitude, and speaks as eloquently as anything written by Thomas Jefferson for the spirit of the American revolution. The presence of Lermontov with his enormous talent and growing popularity was dangerous for the tsarist system in Russia.
Works
Lermontov poetic development was unusual. His earliest unpublished work that he circulated through his friends in the military was pornographic in the extreme, with elements of sadism. His subsequent reputation was clouded by this, so much so that admission of familiarity with Lermontov's poetry was not permissible for any young upper-class woman for a good part of 19th century. These poems were published only once, in 1936, as part of a scholarly edition of Lermontov's complete works (edited by Irakly Andronikov).
During his lifetime, Lermontov published only one slender collection of poems (1840). Three volumes, much mutilated by censorship, were published a year after his death. His short poems range from indignantly patriotic pieces like Fatherland to the pantheistic glorification of living nature (e.g., Alone I set out on the road...) Lermontov's early verse has been termed by some puerile, for despite his dexterous command of the language, it usually appeals more to adolescents than to adults. But like Percy Bysshe Shelley, with whom he is often compared, he attempted to analyse and bring to light the deeper reasons for this metaphysical discontent with society and himself.
Mikhail Vrubel's illustration to the Demon (1890).Both patriotic and pantheistic Lermontov's poems had enormous influence on later Russian literature. Boris Pasternak, for instance, dedicated his 1917 poetic collection of signal importance to the memory of Lermontov's Demon, a long poem featuring some of the most mellifluous lines in the language, which Lermontov rewrote several times. The poem, which celebrates the carnal passions of the "eternal spirit of atheism" to a "maid of mountains", was banned from publication for decades. Anton Rubinstein's lush opera on the same subject was also banned by censors who deemed it sacrilegious.
For his only novel, Lermontov deserves to be regarded as one of the founding fathers of Russian prose. A Hero of Our Time is actually a tightly knitted collection of short stories revolving around a single character, Pechorin. The short stories comprising this work are intricately connected, and the reader moves from a superficial glimpse of the character's actions to an understanding of his philosophy and of the secret springs of his seemingly mysterious behavior. The structure of the novel is modern, and has inspired several imitations, notably by Vladimir Nabokov in his novel Pnin (1955).
Legacy
A minor planet 2222 Lermontov discovered in 1977 by Soviet astronomer Nikolai Stepanovich Chernykh is named after him.
A sample of Lermontov's poetry
The Dream is one of Lermontov's last poems, featured in his posthumous diary. Vladimir Nabokov, whose translation follows, thought this "threefold dream" prophetic of the poet's own death.
Mikhail Lermontov.Сон
The Dream
В полдневный жар в долине Дагестана
С свинцом в груди лежал недвижим я;
Глубокая еще дымилась рана,
По капле кровь точилася моя.
In noon's heat, in a dale of Dagestan
With lead inside my breast, stirless I lay;
The deep wound still smoked on; my blood
Kept trickling drop by drop away.
Лежал один я на песке долины;
Уступы скал теснилися кругом,
И солнце жгло их желтые вершины
И жгло меня - но спал я мертвым сном.
On the dale's sand alone I lay. The cliffs
Crowded around in ledges steep,
And the sun scorched their tawny tops
And scorched me -- but I slept death's sleep.
И снился мне сияющий огнями
Вечерний пир в родимой стороне.
Меж юных жен, увенчанных цветами,
Шел разговор веселый обо мне.
And in a dream I saw an evening feast
That in my native land with bright lights shone;
Among young women crowned with flowers,
A merry talk concerning me went on.
Но, в разговор веселый не вступая,
Сидела там задумчиво одна,
И в грустный сон душа ее младая
Бог знает чем была погружена;
But in the merry talk not joining,
One of them sat there lost in thought,
And in a melancholy dream
Her young soul was immersed -- God knows by what.
И снилась ей долина Дагестана;
Знакомый труп лежал в долине той;
В его груди, дымясь, чернела рана,
И кровь лилась хладеющей струей.
And of a dale in Dagestan she dreamt;
In that dale lay the corpse of one she knew;
Within his breast a smoking wound shewed black,
And blood coursed in a stream that colder grew.
Written by: Mikhail Lermontov
Translated by: Vladimir Nabokov
References
^ Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names, 5th, New York: Springer Verlag, p. 181. ISBN 3540002383.